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Prof. Jinglejaw's Exhibition 
Rehearsal 

An Eniertafnttrcnt in #m> g>t*t\* 



By LYLE WILSON HOLDEN 



Copyright 1915 by DICK & FITZGERALD 



NEW YORK 
DICK & FITZGERALD 

18 Ann Street 



4\ 



TMP92-009205 
©C1.D 41405 

AUG 3 1915 



Prof. Jinglejaw's Exhibition 
Rehearsal. 



JlNGLEJAW . 


CHARACTERS. 

£ 




Pupils 


Si 


Marindy 


Hiram 


Eliza 


Reuben 


Emily 


Billy 


Sally 


Jacob 


Lucy 


Enoch 


Hannah 


Sam 


Mandy (Darkey) 


Jimmy 





Locality. — A New England Village. 

Time of Playing. — About forty minutes, according to specialties 
introduced. 

COSTUMES AND CHARACTERISTICS. 

Prof. Jinglejaw. About 40 years. He is the schoolmaster 
and also the local singing teacher; wears an old-time, long- 
tailed coat, fancy waistcoat, spectacles, tall hat, and carries a 
large cotton umbrella. 

Male characters. Ages range from 17 to 30 ; wear cowhide 
boots, brown jeans, checked shirts, bright and gaudy ties, any 
old, out of style coats that happen to be available. 

Female characters. Ages range from 17 to 30 ; wear calico 
dresses, gingham aprons, any old cloaks and shawls taken from 
the attic. 

3 



4 Prof. Jinglejaw's Exhibition Rehearsal. 

INCIDENTAL PROPERTIES. 

Newspaper for Mandy. Glass of water for Sally. Tuning 
fork and baton for Professor. Fan for Lucy. Large white 
sheet for Hiram. 

STAGE DIRECTIONS. 

As seen by a performer on the stage facing the audience, R., 
means right hand ; l., left hand ; c, center of stage ; r. c, right 
center. Up means toward back of stage; down, toward foot- 
lights. 

NOTE. — The suggested music, both vocal and instrumental, is 
based upon such pieces as have been successfully used in 
numerous performances of this entertainment. Mandy, the 
colored character, is introduced to form a contrast and to break 
the monotony of so many Yankee characters. It is quite a 
well-known fact that throughout New England and the Middle 
States there are many towns and country places with but one 
or two negro families and in these places with but one or two 
darkey children they are admitted to the schools and neighbor- 
hood gatherings. In this entertainment, the attitude of the 
other characters towards Mandy is not so much that of equal- 
ity as of amused toleration. 

Most of the lines should be rendered in the old Yankee twang. 



Prof. Jinglejaw's Exhibition 
Rehearsal. 



SCENE. — The interior of an old-fashioned country schoolhouse. 
Door r. c. of rear flat. Windoiv, r. Professor's battered 
desk up c. Plain ivooden benches and chairs; a rusty box- 
stove. On wall l. a dingy black-board on which a few 
comic sketches are made with crayons or charcoal, also 
sketches drawn on wall. 

ENTER Professor all out of breath. After placing his hat and 
umbrella in a corner, he drops into chair, c. 

Professor. Wall, I'm here at last, even if the wind did well- 
nigh take me and my umbrellar over the dug-road, and if I 
did hev to dodge the snowballs them onery Scrubhill Corner's 
kids threw at me — drat their skins. Piketown will hev me to 
thank if this entertainment turns out to be the great and glori- 
ous affair we expect it will. With the training they hev got 
the last three months to my singing-skewll, and the work I've 
put in conducting the Piketown Symphony Orchestra, it seems 
ter me the affair ort ter be fust class. I dew hope they'll be 
on time for this last rehearsal to-night, for I must see that 
everything is perfection before anyone leaves to-night. Hello, 
there's someone now. (A step and cough are heard off stage) 
Sounds like Si Perkins and Marindy. (Goes to door) 

ENTER Si and Marindy. 

Professor. Howdy, Si. Evenin', Marindy. How's every- 
thing to-night? Yer both on time, I see. 

Si. Yep, we tried ter git here on time, but it's doggone 
awful goin'. My old mare durn near lay down in her tracks 
before we ariv. I hope you're in good health, Professer. 

5 



6 Prof. Jinglejaw's Exhibition Rehearsal. 

Professor. Fine, Si, fine. Except for a little touch of 
pneumogastric pralysis, and an attack of spasmodic contor- 
tions of the diaphrame, I never felt better in my life. 

Marindy. La sakes, Professer. I should think you'd be all 
ett up with pain and misery- Why don't yer put on a mustard 
plaster. Ma put one on Sam t'other day fer eatin' too much 
green sass, and in five minutes he said he fergot all about his 
original ailments. But he was dancin' an awful jig and later 
he said 267 square inches of his hide came off. 

Professor. No, thanks, Marindy, I don't believe I care to 
try that kind of remedy. Hello, here comes some one. 

Eliza (off stage). Well, Hiram Hawkins, ef yer think I'm 
goin' ter be bossed 'round by you, you're badly left, that's all. 

Hiram. But, Liza, I ain't bossin' ye. I jest didn't like Billy's 
bein' so fresh with ye, that's all. 

Eliza. Well, I guess I kin take care of myself. Ef I needed 
a guardian I might call on you. 

Si. Huh — it's Hiram and Liza havin' one of their spats. 

ENTER Hiram and Eliza. She holds her chin very high, but 
Hiram looks rather crestfallen. 

Professor. Good-evenin', Hiram. Good-evenin', Eliza; fine 
evenin' fer the rehearsal, ain't it? 

Eliza (snappishly). Yes, it's an elegant evening. 

Hiram. Yes, it's good enough, but it don't seem ter agree 
with me very good. 

Si (going over to Hiram and slapping him on the back, while 
the two girls talk to each other) Aw, cheer up, Hiram. No 
use lookin' glum when gals hev a tantrum. Jest leave them 
alone, and they'll git over it alright. 

Hiram. I dunno, mebbe you're right. It makes a feller 
kindo gone in the stomick though. (Sound of singing in the 
distance is heard) 

Professor. Listen ! What's that singin' ? 

Si. I reckon it's the rest of the folks from the hill road. 
Everybody is goin' ter be out ternight. (The singing gradually 
draws nearer. Then with the exception of Reuben and Enoch, 
ENTER all, talking and laughing at once. There is an ex- 
citing time of greeting, hand shaking, etc. Each one shakes 
hands with the Professor and tvith every one else. The girls 
kiss and hug each other, and a general merrymaking ensues. 
After a short time the Professor raps for order tvith the in- 
tention of starting the rehearsal. Suddenly a great noise is 



Prof. Jinglejaw's Exhibition RehearsaL 7 

heard, off stage, and Reuben ENTERS in great haste. His 
hair is disheveled ; his eyes are bulging; his teeth are chatter- 
ing, and he is so out of breath that he can scarcely talk > 

Reuben (puffing and bloicing). Oh, Lord, oh. Lord: Some- 
body help me ! Oh, I'm dead, I'm dead . 
groans mmi 

Emily. Oh. Reuben, what is it? Is somebody murdered? 
Is the house afire, or hev you got a fit? ( Mandy takes a news- 
paper and fans him. Saixy yets a ghiss of water which he 
gulps and chokes upon. He sputters, moans and groans and ap- 
pears about to expire. Sally smells of the glass and gasps) 

Sally. Oh, Good Heavens! I got that glass of ile Billy 
brought to light the fire with. 

Reuben {sputtering and choking). Oh, o — o— oh, o— -o — 
o — o — o — oh! Every — body's — try — ing ter kill me. Just 
'seaped a terrible death — and — now you folks — want ter finish 
me. 

Hibam. Well, Land o ? Goshen, Reuben, can't yer tell us 
what's the matter? Don't lay there like a dead loonatic. 
Brace up and satisfy our curiosity. 

Belly. Yaas. Reuben, looks ter me's if you'd made fool 
enough of yerself. It's time yer gave an account of yerself. 

Reuben. Well, I guess if yer fellows hed been through what 
I hev, you'd be some shooken up. I shouldn't be surpr> 
my hair hed all turned gray, i Puts up hand and smooths down 
his hair\ I tell yer what, folks, I wus chased three miles by 
the biggest panther in North America. I wus comin' t; 
Hoognn's when I heared the awfulest. blood curdlenest screech, 
worsen the cry of ten thousand lost souls. I stopped in my 
track fruz with terror. Then that awful screech cui~ 
and that mammoth panther leaped right out of the bushes at 
me. (The girls cry out and clutch each other > I giv one 
awful jump and knowed nothin' more till I landed through 
the door thar. {Begin* to shake again) Oh, it was awful, 
awful, awful. (During this time Si has been gradually getting 
:nd More hilarious. He can now hold himself no longer, 
but begins to slap his leg and to roar with laugi I 

Mabindy. Well, for the land of goodness. Si. what is the 
matter? 

Pbofessor. Yes. Mr. Perkins, it seems but proper that the 
rest of us should share the joke. 

Si i still laughing and shaking). Oh, hold me somebody or I 
shall bust. sure. I'm tickeleder than I've been fer twenty 
years. Oh, Reuben, you're the biggest coward er fool I ever 



8 Prof. Jingle jaw's Exhibition Rehearsal. 

see. 'Twan't no painter you see. That warn't nothin' but Tom 
Hoogan's old yaller dog. He had Sally Ann's cat up a tree 
when I cum by, and the cat wus yawling and makin' a terrible 
fuss. I expect that's Reuben's ten thousand lost soul noise. 
I s'pose 'bout the time he cum past, the cat jumped out of the 
tree, and of course that old hound took atter it. Talk about 
a painter. Whee! Whoo ! (He goes off into another fit of 
laughter, and Reuben looks silly and tries to get out of sight) 

Emily. Well, Reuben Jones, if you get scared as easy as 
that, I guess I won't go to that spellin' match with you next 
Friday night. A hoot owl or something might scare you, and 
I'd be left to go home alone. You are a brave man, you be, I 
must say. 

Reuben (almost crying). Now, Emily, don't be too hard on 
me. If you hed been there 

Emily. You needn't say no more. When I hev a feller, I 
want one that ain't scared out of his skin at every frog that 
peeps. So there. (Slie flounces back into her seat, and Reuben 
goes off into a corner, stealthily imping Jiis eyes. Everyone 
looks at him, smiling and laughing) 

Professor. Wall, I guess if that excitement is over we will 
begin our rehearsal. We will start with the grand openin' 
chorus. All take yer places, and remember the repertation of 
Piketown rests on yer shoulders. I'll give yer the key. (Busi- 
ness of getting key from pitchpipe) Are yer all ready? 
( Chorus of " Yep," " Let er go," " Strike up the band" etc. 
There is much confusion in getting to their places. Hiram goes 
next to Eliza but Billy crowds between, and during the sing- 
ing first one and then the other crowds the other from his 
place) 

NOTE. — Any good song that is adapted to a chorus may be 
used for this number. The fun lies in the manner in which it 
is produced. The Professor swings his baton with exaggerated 
gestures, and part of the company sing in tune and the rest are 
off key the most of the time. All taking part act as though 
they thought they were producing the grandest effect possi- 
ble. Suggested: "We'll Raise the Roof To-night." Price 50 
cents. 

Professor. That's fine, fine. I tell yer ye hev did yerselves 
brown. When any one kin outdo Piketown they'll hev ter get 
up in the mornin'. Now what's the matter of our havin' that 
oration of yours, Billy? 



Prof. Jinglejaw's Exhibition Rehearsal. 9 

Billy. I dunno but I'd jest as soon orate now as anytime. 
(Comes forward very importantly) Ladies and gentlemen as- 
sembled, I am goin' ter orate fer you tins evening 

Jacob. Aw, come off from yer high horse, Billy. 

Billy (glaring at him) Shut yer mouth and mind yer busi- 
ness. Ladies and gentleman, I stand before yer this evening 
for the purpose of orating 

Hiram. Does it hurt much? 

Billy. Does what hurt much? 

Hiram. Why, to orate, of course. 

Billy (tries to kick him, but misses, and the force of the 
blow throws him down. All laugh. Billy picks himself up 
and starts savagely). Ladies and gentlemen, I propose 

Chorus of Voices. Who's the lucky girl? 

Billy. Blame it all ! Can't you people shut up fer a minute 
or two? 

Chorus. Uh huh. 

Billy. Ladies and gentlemen, I am goin' ter orate fer you 
that grand, majestic selection known as " The Gladiater." 

Si. I beg yer pardon, Billy, but what wuz he glad he ate her 
for? 

Billy. Say, Professor, if these folks don't keep still I ain't 
goin 'ter do another thing ter night, ner any other time either. 

Professor. Will yer all keep quiet now, until Billy gets his 
selection giv? (Some place their hands over their mouths, 
others cram their handkerchiefs into their mouths, etc.) 

Billy. Stillness reigned in the vast am — per — the — a — tor, 
and from the countless thousands that thronged that spacious 
inclosure, not a breath was heard. Every tongue was mute 
with suspense, and every eye strained with anxiety toward 
the fatal portal, where the gladiator was momentarily ex- 
pected to enter. At length the trumpet sounded and they led 
him forth — (During this recital all make motions in imita- 
tion of Billy's exaggerated gestures. At last he gets angry and 
stops) Well, I'm done, an' I hope yer folks air satisfied now 
you've spoilt the only high class number on the program. 
(Goes up stage and drops angrily into a seat) 

Professor, As Billy seems ter hev had his feelin's trodden 
on, mebbe we might as well hev that song of yours, Mandy. 

Mandy. Wall, if dat Billy tinks he is the only fust class per- 
formator in dis crowd, I tink I'll jes stay where I is. 

Chorus. Oh, come on, Mandy. Never mind Billy. He's got 
sore feet. 



10 Prof. Jinglejaw's Exhibition Rehearsal. 

Mandy. Wall, seein' as yo is all so sisterent I will try to 
discomodiate yo. 

NOTE. — As Mandy is a darkey character it would be well for 
her to sing some good darkey song, but if it is not convenient 
to provide a darkey song any good song will be effective if 
sung with comedy negro effect. Suggested : " Auntie Skinner's 
Chicken Dinner." Price 50 cents. 

Mandy (walking very importantly to her seat, while all 
cheer). Wall, if that wasn't fust class, I don't know what is. 

NOTE. — During the progress of the play a number of the 
men have been trying to pay some attention to Lucy, who is 
dressed as an old maid. She refuses to have anything to do 
with any of them. She slaps one in the face, turns away from 
another, and fans herself vigorously. Reuben now comes edg- 
ing up to her and sits down beside her. She draws away in- 
dignantly. 

Reuben. Say, Miss Lucy, could I hev the pleasure of ac- 
companying yer home this beautiful evenin'. (Everybody 
laughs ) 

Lucy. No, you can't. I don't know what I want of an ex- 
cuse for a man who is afraid of a yaller dog panther. 
(Reuben looks crestfallen and sneaks away) And you folks 
needn't laugh. I expect you young giddy gals think I never 
had a chance to get a feller, but heaven knows I've had all I 
want. All men are deceivin', hateful critters, and thank 
heaven, I don't hev to have any of them around me. So there. 
(Begins to fan herself vigorously) 

Si. Wall, Reuben, ye did ruffle the old hen's feathers, didn't 
ye? I'm s'prised ter think ye had the gumption to do it, con- 
sidering the scare ye hed this evenin'. 

Reuben. Yer think ye air awful smart, but I bet 'twouldn't 
take much ter make you show the white feather. I never seen 
you display any great bravery, except with yer mouth. 

Si. Say, look here, kid ; I wanter tell you that I'm not one 
of yer scary kind. I don't get scart out of my wits every time 
I see a yaller dog or a black cat. There don't nothin' scare me. 
(Off stage there is a terrific explosion. This may he produced 
by firing a pistol or a cannon cracker. All the girls shriek and 
the men stand trembling. Si falls to his knees in the center of 
the stage, his eyes rolling and mouth working convulsively. 
At first he can say nothing, but at length gasps) 



Prof. Jinglejaw's Exhibition Rehearsal. 11 

Si. Oh, save me, save me, save me! I ain't done nothin'! 
(He makes a few terrible groans. Just then Enoch tumbles 
into the room. His coat is off at one sleeve, his hair dis- 
heveled, and his face black and dirty) 

Enoch (howling). Aw, pick me up and bury me, can't ye, 
somebody? Oh, I'm all blowed to smithereens, and pounded 
black and blue. What are ye all standin' there fer? Why 
don't ye do something? 

Professor. But what's the matter, Enoch? We didn't know 
but jedgment day had come, considerin' the racket. 

Enoch. Well, it putty nigh did come fer me. I wuz monkey- 
in' with grandther's old musket when she blew up or sunthin', 
and I thought I flew into a hundred pieces and landed sixty- 
'leven rods away in a heap of coal. I don't know whether I'm 
all here or not. I feel as though sunthin' wuz lackin'. (Sees 
Si still on his knees) Well, what's Si Perkins doin' there? 
Sayin' his prayers? Get up, Si, I ain't dead yet. (Si scram- 
bles to his feet, looking very sheepish) 

Hannah. Oh, Si's just displayin' his bravery, you know. 
He's the fellow who never gets scared. He ain't afraid of any- 
thing but a popgun. He's just a little rattled in the nerves, 
that's all. Marindy, ye'd better be kerful goin' home to-night 
that ye don't make any noise or he'll be kneelin' in a snowbank, 
and he might get pneumonia and that would be awful fer he 
couldn't holler then, — no, ner brag neither. 

Marindy. Well, I must say, Si, that ye hev behaved nobly. 
Everybody behold the brave Mr. Si Perkins who ain't afraid of 
anything. Hev a good look, ladies and gentlemen, ye may never 
see his likes again. (Si Hoists and turns, and becomes so em<- 
barrassed that the Professor feels sorry for him) 

Professor. Oh, well, Si wasn't the only one that was 
afraid. I'll confess I wuz some startled myself. Now, Hannah, 
I expect we might hev your recitation. 

Hannah. Oh, Professor, I wish you'd excuse me ternight. 
I'm afraid I hev f ergot it. 

Professor. Oh, no, Hannah, yer can do it. Come on, there's 
nothin' ter be nervous about. 

Hannah. Well, if I've got to, I s'pose I must, but I wish I 
didn't hev to. (Hannah recites some selection quickly with 
absolutely no expression. We would suggest, " The Charge of 
the Light Brigade") 

Mandy. I purpose that Sam giv us that little jig of his'n. 
He's been so quiet dis ebenin' I dun beliebe he's gone ter 



12 Prof. Jinglejaw's Exhibition Rehearsal. 

sleep. ( Chorus of " Come on, Sam," " That's the thing," 
" Whoop her up, Sam," etc. ) 

Sam. Aw, I don't wanter. I can't dance no jig ner no noth- 
in'. Go on with the t'other things on the program. (Two of 
the boys take Sam by each arm and hustle him to the front, 
where he stands sleepily. Chorus of " Come on, Sam." He 
starts two or three times and stops. Gradually he gets to 
dancing faster and faster, all of the crowd keeping time with 
their hands. At last he falls exhausted, but still keeps his 
hands and feet going) 

Sally. I knew Sam'd never stop if he got ter goin' once. 
Some of you fellers better help him up or he'll die. I guess 
he's lost his breath now. (The boys pump his arms and legs 
until he gets his breath, and then lead him to the rear) 

Professor. Hello, Jimmy's gone ter sleep. Hi, wake up 
there, Jimmy, and give us yer piece. (Everybody yells, 
" Jimmy ! " He gives a start and falls from his seat to the 
floor. Looks dazed but rises, stretches and yawns) Come on, 
Jimmy, don't sleep all night. Give us yer piece. 

Jimmy (yawning and stretching). Why can't yer let a 
feller rest? I don't want ter speak nothin'. (He starts to go 
back to his seat, but is pushed to the front, and prompted by the 
Professor he speaks some simple little thing that is short and 
easy. He nearly goes to sleep a number of times while speak- 
ing and has to be continually prompted. He falls down while 
getting back to his seat and goes the rest of the way on his 
hands and knees) 

Professor. Next we'll have that trio the gals hev been prac- 
ticin' so long. Come on, gals, we know yer hev something 
good fer us. 

NOTE. — Sally, Emily and Maria come forward and sing 
some popular song. One is very bashful and keeps her finger 
in her mouth, one giggles incessantly, and the other sings all on 
one tone. Great applause at the end. Suggested : " Wall, I 
Swan." Price 60 cents. 

During the song Billy has succeeded in placing himself be- 
side Eliza and is busily engaged in talking to her. At last he 
attempts to place his arm around her. This is more than 
Hiram can stand and he rushes to him, takes him by the 
collar and throws him to the floor. 

Hiram (wildly excited, and waving his arms). Thar, gol 
darn yer onnery hide! I'll teach yer ter go ter getting my gal 



Prof. Jinglejaw's Exhibition Kehearsal. 13 

away from me. (Shaking his fists) Come on and I'll give yer 
one that'll let daylight in. I'll knock yer into the middle of 
next week. 

Billy (jumping up and dancing ivith anger). Yer will, will 
yer? I want yer to understand that I ain't afraid of a hun- 
dred Hiram Hawkinses nor the whole Hawkin's tribe neither. 
(He starts for Hiram, and the tivo engage in a combat, but 
both are so angry that they are unable to see each other, and 
the bloivs fall rather wildly. The girls hover together and 
scream) 

Eliza. Oh ! Oh ! Oh ! Fire ! Murder ! Stop them somebody, 
do ! They'll dig each other all to pieces ! Why don't you stop 
them? Why don't you stop them? (The boys are pulled apart, 
but keep trying to get at each other. Gradually they become 
cooler. When they are loosened, Eliza goes to Billy, and wipes 
his face with her handkerchief. When Hiram sees this he puts 
both hands to his face and bellows) 

Hiram (sobbing and choking between nearly every ivord). 
Now — you've all gone — and done it. I — ain't got — no — gal — no 
— more. Liza — wuz — the only one — I — ever had — and — I'll 
never — git — another. I'll go out — in the — cold — world — and die 
— all alone. (Goes out sobbing) 

Professor (iciping his face icitJi his handkerchief). Wall, 
after that scene I ruther guess we had better hev some music. 
The Piketown Symphony Orchestra will now rehearse. 

NOTE. — The orchestra may consist of all sorts of simple in- 
struments, such as jewsharps, mouth-organs, ocarinas, bones, etc. 
However, it will be just as effective if every one uses a comb 
covered with tissue paper. The members of the orchestra pro- 
duce their instruments or combs with a great show of pride 
and then come to the front of the stage. They have a dismal 
time tuning up and make two or three false starts. The Pro- 
fessor hammers with his baton and calls several to order. At 
last they get started and go through the tune, ending with a 
grand flourish. Any good stirring tune may be used. Particu- 
larly suggested : " Haydn's Children's Symphony " consisting 
of piano score, with score for toy parts, as follows: 1st and 
2nd Violin and Bass, Rattle, Cuckoo, Drum, Kazoo, Trumpet, 
and Triangle. Price 60 cents. This should not be omitted if it 
is possible to include it, and it should be given, not in a gro- 
tesque off-hand manner, but as artistically as the performers 
can render it. But if it is found impossible to give " The 
Children's Symphony " the " Kerry Dance " may replace it. 



14 Prof. Jinglejaw's Exhibition Rehearsal. 

Price, with piano accompaniment, 40 cents, with 10-part orches- 
tration, $1.40. 

Processor. I jest believe while we are about it, we will hev 
that other chorus accompanied by the orchestra. 

NOTE. — Another tune is started; those who are not in the 
orchestra sing this time. In the midst of the grand finale 
Hiram appears dressed up as a ghost. The music ends with an 
awful squeak and the members tumble over each other in a 
wild exit. 

Hiram (peeping out of the sheet, laughing and slapping him- 
self ivith glee). I'll teach them ter go back on me. I guess 
they'll all remember Professor Jinglejaw's Exhibition Re- 
hearsal. 

CURTAIN. 



NEW PLAYS 

ROYAL CINCH, A, 25 cents. A farce comedy in 3 acts, by Frank 
H. Bernard. 2 male, 3 female characters. 1 interior, 1 exterior scene. Time, 1% 
^ours. A fantastic comedy, simple in plot, but cunningly contrived and cumulative 
in its development. The darkey waiter and the pert housemaid are surpassingly 
comical parts. 

HOOSIER SCHOOL, The. 15 cents. A farcical sketch in i act, by 
William and Josephine Giles. 5 males, 5 females, 4 of whom can be boys and 4 girls. 
1 interior scene. Time, about 30 minutes. A realistic picture of a district school 
in a small Western village. The rough and ready teacher and his tricky scholars keep 
the audience in a roar. The teacher is finally squelched by the irate mother of one 
of'his pupils. The piece is cleverly worked out and full of funny incidents. 

SCRUBTOWN SEWING CIRCLE'S THANKSGIVING, The. 

15 cents. An old ladies' sociable, by Maude L. Hall. 6 female characters. 1 in- 
terior scene. Time, 35 minutes. A characteristic entertainment in which, among 
other interesting incidents, each of the old ladies gives her reasons for thankfulness. 
An all star study of character with an unusual send off. 

DOLLY'S DOUBLE. 15 cents. A musical vaudeville sketch in i act, 
jy Charles Stuart, i male and i female character assuming two parts. i interior 
scene. Time, 20 minutes. An exceedingly humorous conception, bright, catchy 
and original, eading through several stages to a clever climax. 

JOHN'S EMMY. 1 5 cents. m A vaudeville sketch in one act, by Charles 
Stuart, i male, i female character, i interior scene. Time, about 20 minutes. A 
methodical old bookworm awaits a young girl who is to be his ward. An entirely 
different girl arrives, who summarily subjugates him. The action is rapid, crisp, and 
full of comicalities. A capital character study for both performers. 

TOM COBB; or Fortune's Toy. 15 cents. Farcical comedy in 3 
acts, by W. S. Gilbert. 6 male, 4_ female characters. Time, i% hours. Modern 
costumes. Tom Cobb, at the instigation of his friend, Whipple, pretends to be dead 
in order to escape his creditors. He makes a will and leaves everything to Matilda^ 
daughter of Col. O' Fipp, in whose house he has been lodging. Tom is unexpectedly 
left a fortune, which is taken possession of by the Colonel, and Tom has great difficulty 
in recovering it. 

DELEGATES FROM DENVER, The. 25 cents. A farcical 

comedy in 2 acts, by Samuel N. Clark. 3 male, 10 female characters. 2 interior 
scenes. Time, 45 minutes. Margaret is a candidate for president of the Eta Pi 
Sorority which meets at Boston. John has proposed to her, but she defers her answer, 
as she purposes if elected to devote her whole time to the Sorority. Two delegates 
from Denver decline to attend ; John and Edward plan to represent them and vote 
against Margaret, and also to prevent her from going to Boston. Their plan partially 
succeeds, but it ends in discovery, explanations, and Margaret's engagement to John, 
including some other pleasant denouements. The action is absurdly farcical, and very 
much alive from start to finish. 

RAINBOW KIMONA, The. 25 cents. A csmedy for girl* in 2 acts, 
by Eleanor Maud Crane. 9 female characters. 1 interior scene. Time, an hour 
and a half. The Rainbow Kimona is a club composed of seven of the Senior Class 
of Miss Penelope Wright's Collegiate School, each member wearing a Kimona 
representing one of the seven colors of the Rainbow. In a small apartment an 
entertainment is arranged in which each girl assumes a leading character in one of 
Shakespeare's plays, burlesqued in outrageously comical style. Incidentally, articles 
have been mysteriously missing from time to time. The purloiner is supposed to be 
a ghost, but eventually proves to be one of the girls walking in her sleep. The whole 
thing is a medley of the most attractive and amusing kind in its absurdities and 
originality of conception. 



Entertainments and Novelties 

YE VILLAGE SKEWL OF LONG AGO. 25 cents. An original, 

very humorous entertainment in one scene. By Eleanor Maud Crane. Arranged 
for 4 male characters, consisting of the Schoolmaster and 3 members of the School 
Committee ; 5 lady visitors, one of them having designs on the Schoolmaster, and 18 
scholars, 9 being boys and 9 girls, more or less as circumstances demand, and 
exceedingly ludicrous if acted by grown-up persons dressed as children. The scene is 
an old-fashioned country schoolroom. The proceedings occupy two sessions ; the 
morning session being.devoted to examination of the classes, general exercises and a 
spelling bee. In the afternoon session are recitations, reading of essays and songs, 
distribution of prizes, and presentation of a testimonial to the Schoolmaster by the 
scholars. 

IN THE FERRY HOUSE. 25 cents. A characteristic entertain- 
ment in i act and i scene, by Eleanor Maud Crane. Introducing 15 male, n female 
characters, 4 or more youths and misses, a small band of musicians (real or fictitious) 
and 10 or 12 children. The number of characters may be made more or less to suit 
circumstances. The arrangement of the scene is quite simple. The action is thor- 
oughly realistic and located in the waiting room of a Ferry, passengers arriving and 
departing, some of them being typical and eccentric characters in droll and perfectly 
natural combinations. Time of playing 1% hours or mo.e, there being ample scope 
for all sorts of specialties. Particularly recommended for Church and other Enter- 
tainments. 

THE BACHELOR MAIDS' REUNION. 25 cents, a complete 

entertainment in i scene, by Eleanor Maud Crane. 30 (more or less) female, and a 
male characters (performed by females if preferred). An original and by far the most 
amusing conception of the kind, eminently suitable for Church, School and other En- 
tertainments. It affords exceptional opportunities for incidental specialties, and 
elicits roars of laughter every minute. Can be presented on any platform with acces- 
sories of the simplest kind. 

MATRIMONIAL EXCHANGE, The. 25 cents. An eccentric 

entertainment in two acts, by N. H. Pelham. 6 male, 9 female characters, also 6 
children, 4 of them boys and 2 girls. Two interior scenes. Costumes, characteristic. 
Time, 2 hours. A widow lady and two daughters become suddenly destitute. A rich 
old man proposes to marry the elder daughter and support them all. The daughters 
run away and start a Matrimonial Exchange. Applicants arrive, consisting of a bank- 
rupt nobleman, two wealthy females in search of a titled husband, a song and dance 
actor, an animal trainer, two actresses, a policeman, a wash-lady with four performing 
children, and an Irish widow. In addition to the comical situations, the introduction 
of specialties affords ample opportunity for the display of the capabilities of each ap- 
plicant. Matters are finally arranged to the satisfaction of all concerned. 

OLD PLANTATION NIGHT, An. 25 cents, a musical and 

dramatic entertainment for 4 male and 4 female characters, forming a double quartet. 
This is not a negro minstrel show, contains no boisterous jokes nor conundrums, and is 
without a vestige of " Tambo " or " Bones," or the conventional stage darkey. It is a 
simple but vivid representation of life " in de quarters," embellished with song and 
story illustrating some of the quaint superstitions and frolicsome merry-makings of the 
mellow-voiced race. Thoroughly bright throughout,_ the text is uncommonly well 
written, and the succession of incidents skilfully contrived, while its transitions from 
grave to gay are wonderfully effective. The scene, a simple interior, can be arranged 
on any platform ; some old garments and a little discarded finery will suffice for the 
costumes ; the " properties are few and simple, and the music within the capacity of 
fairly good voices, such as any ordinary church choir contains. 

WHILE MORTALS SLEEP. 25 cents. An original fairy operetta 
in 2 acts and t scene, by Rosamond Taylor, the music composed by Carolyn 
Taylor. 14 boys, 20 girls, or as many more as circumstances permit. The scene in 
both acts is in the woods, where the fairies gather at twilight. It includes a drill 
waltz with graceful figures and poses arranged for 4, 6, or 8 girls, and 10 appropriate 
and catchy songs with music and accompaniment complete, and introduces in an 
original way some of Mother Goose's characters, Santa Claus, etc., as invited guests 



MILITARY PLAYS 

25 CENTS EACH 

M. F. 

BY THE ENEMY'S HAND. 4Acts;2hours ?0 4 

EDWARDS, THE SPY. 5 Acts; 2^ hours 10 4 

PRISONER OF ANDERSON VILLE. 4 Acts; 2# hours.. 10 4 

CAPTAIN DICK. 3 Acts; 1\4 hours 9 6 

ISABEL, THE PEARL OF~ CUBA. 4 Acts; 2 hours 9 3 

LITTLE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 4 

BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2^ hours 9 3 

BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 3 



RURAL PLAYS 

25 CENTS EACH 

MAN FROM MAINE. 5 Acts; 2^4 hours 9 3 

AMONG THE BERKSHIRES. 3 Acts; 214 hours 8 4 

OAK FARM. 3 Acts; 2^ hours; 1 Stage Setting 7 4 

GREAT WINTERSON MINE. 3 Acts; 2 hours 6 4 

SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2«^ hours 5 2 

WHEN A MAN'S SINGLE. 3Acts;2hours 4 4 

FROM PUNKLN RIDGE. (15 cents.) 1 Act; lhour... 6 3 

LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 1 



ENTERTAINMENTS 

25 CENTS EACH 

AUNT DINAH'S QUILTING PARTY. 1 Scene 5 11 

BACHELOR MAIDS' REUNION. 1 Scene 2 30 

IN THE FERRY HOUSE. 1 Scene; 1% hours 19 15 

JAPANESE WEDDING. 1 Scene; lhour, 3 10 

MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 

OLD PLANTATION NIGHT. 1 Scene; V/ A hours 4 4 

YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 12 

FAMILIAR FACES OF A FUNNY FAMILY 8 11 

JOLLY BACHELORS. Motion Song or Recitation 11 

CHRISTMAS MEDLEY. 30 minutes... 15 14 

EASTER TIDINGS. 20 minutes 8 

BUNCH OF ROSES. (15 cents.) 1 Act; 1% hours 1 13 

OVER THE GARDEN WALL. (15 cents) 11 8 



DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 



— „ mm 

25 CENTS EACH. ° 103 481 2 4 

M. F. (ft 

BREAKING HIS BONDS. 4Acts;2hours 6 3 y| 

BUTTERNUT'S BRIDE. 3 Acts; 2^ hours 11 6 j| 

COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting. 9 3 j| 

COUNT OP NO ACCOUNT. 3 Acts; 2^ hours 9 4 $ 

DEACON. 5 Acts; 2^ hours... 8 6$ 

DELEGATES FROM DENVER. 2 Acts; 45 minutes 3 10 | 

DOCTOR BY CO URTEST. 3Acts;2hours 6 5 |> 

EASTSIDERS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 <| 

ESCAPED PROM THE LAW. 5 Acts; 2 hours 7 4 $| 

GIRL PROM PORTO RICO. 3 Acts; 2^ hours 5 3 £| 

GYPSY QUEEN. 4 Acts; 2% hours 5 3 |> 

IN THE ABSENCE OP SUSAN. 3 Acts; 1^ hours 4 6$ 

JAILBIRD. 5 Acts; 2% hours 6 3 j| 

JOSIAH'S COURTSHIP. 4 Acts; 2 hours 7 4 j| 

MY LADY DARRELL. 4 Acts; 2)4 hours 9 6® 

MY UNCLE FROM INDIA. 4 Acts; 2% hours 13 4 j| 

NEXT DOOR. 3 Acts; 2 hours 5 4 y| 

PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 9 >| 

REGULAR FLIRT. 3Acts;2hours 4 4 gS 

ROGUE'S LUCK. 3Acts;2hours 5 3 |> 

SQUIRE'S STRATAGEM. 5 Acts; 2% hours 6 4 j| 

STEEL KING. 4 Acts; 2V6 hours 5 3 j| 

WHAT'S NEXT? 3 Acts; 2% hours 7 4 J| 

WHITE LIE. 4 Acts; 2% hours 4 3 & 

WESTERN PLAYS 

25 CENTS EACH 

ROCKY FORD. 4Acts; 2hours 8 3 <| 

GOLDEN GULCH. 3 Acts; 2% hours..., 11 3 j| 

RED ROSETTE. 3Acts:2bours 6 3 |> 

MISS MOSHER OF COLORADO. 4 Acts; 2^ hours... 5 3 » 

STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 4 j| 

CRAWFORD'S CLAIM. (15 cents.) 3 Acts; 2\i hours. 9 3$ 



DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 



